Campin, Robert (5) 로베르 캉팽
Robert Campin ca. 1380 – 1444
Birth of Christ
oil on panel (86 × 72 cm) — ca. 1425-30 
Musée des beaux-arts, Dijon
This work is linked to Luke 2:7
○ 예수의 탄생 | |
| 1. | 이때에 가이사 아구스도가 영을 내려 천하로 다 호적하라 하였으니 |
| 2. | 이 호적은 구레뇨가 수리아 총독 되었을 때에 첫번 한것이라 |
| 3. | 모든 사람이 호적하러 각각 고향으로 돌아가매 |
| 4. | 요셉도 다윗의 집 족속인 고로 갈릴리 나사렛 동네에서 유대를 향하여 베들레헴이라 하는 다윗의 동네로  미5:2, 마1:16, 눅1:27 |
| 5. | 그 정혼한 마리아와 함께 호적하러 올라가니 마리아가 이미 잉태되었더라 |
| 6. | 거기 있을 그 때에 해산할 날이 차서 |
| 7. | 맏아들을 낳아 강보로 싸서 구유에 뉘었으니 이는 사관에 있을 곳이 없음이러라 |
Like many other depictions of the Birth, the tableau is based on a vision of the Swedish saint Birgitta (Bridget, 1302-1373). She claimed Mary described to her how she kneeled in prayer, the shining child before her. Joseph was said to be holding a candle, and angels were singing.
The two women on the right are midwifes. According to an apocryphal book, Joseph had summoned them to assist his wife. one of them suffered from a paralyzed hand, but the angel in white calls her to touch the child so that she will be healed: "Tangue puerum et sanabaris".
Campin also displayed a group of shepherds, which makes this painting an Adoration of the shepherds as well.
This panel is often praised for its magnificent landscape. Campin used techniques that many others would copy: a road winding away, and the background in lighter colors that make the horizon fade into the sky. on the left, the sun rises behind the mountains, signaling renewal.
Robert Campin ca. 1380 – 1444
Mérode altarpiece
oil on panel (65 × 118 cm) — 1425-1428 Metropolitan Museum of Art, New York
The Mérode altarpiece is a triptych by the southern Netherlandish master Robert Campin. The name Mérode belongs to the Belgian family that was the last private owner of the work before it was acquired by the Metropolitan Museum in 1956.
It is a popular triptych because of its bright translucent colours and the domestic setting in a medieval European city.
For an altarpiece it is rather small. That suggests it was not made for a church but for private use. The patron was probably the man in the left panel, the merchant Peter Ingelbrechts. The coat of arms of his family can be seen in the central panel.
Left panel: donors
Central panel: the Annunciation
Right panel: Joseph in his workshop
Robert Campin ca. 1380 – 1444 Merode altarpiece - Annunciation oil on panel (64 × 63 cm) — 1425-1430 This work is linked to Luke 1:28
Central panel of Campin's Mérode triptych. It shows Mary reading. She hasn't noticed the angel yet, who is about to tell her of what is to happen. There is much symbolism in this panel. The flame of the candle on the table has just been extinguished. The flame is a symbol of God. A new shape of God is already on its way: on the sunrays beaming through the left window a tiny Jesus enters the world. The lilies on the table represent Mary's virginity. The folds of her robe form a star: Marys as a star of stars. The two books probably represent the old and new testaments. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Robert Campin ca. 1380 – 1444
Merode altarpiece - donors
oil on panel (65 × 27 cm) — 1425-1430 Metropolitan Museum of Art, New York
Left panel of the Mérode altarpiece. It shows the patron of the altarpiece, kneeling as he witnesses the annunciation in the central panel.
The patron was Peter Engelbrechts (or Ingelbrechts), from Mechelen (Malines). His wife was probably added later, after their marriage. The same goes for the man at the gate.
Technical research has shown that the brushstrokes are very similar to those of Rogier van der Weyden, Campin's famous student. Perhaps he made this panel.
Robert Campin ca. 1380 – 1444
Merode altarpiece - Joseph
oil on panel (65 × 27 cm) — 1425-1430 Metropolitan Museum of Art, New York
Right wing of the Mérode altarpiece. It shows Joseph quietly working. He is unaware of the visit the angel pays to his wife.
Campin made this triptych while he was still living in Tournai. Perhaps that is the medieval town in the background.
Some think it is no coincidence that Campin depicted Joseph producing mousetraps. From the Met's web site: "Joseph has made two mousetraps, whose meaning is elucidated by the Augustinian speculation that the Incarnation was God's means of ensnaring the devil, much as bait entraps a mouse." (Incarnation = the birth of Christ)
Please note the way the window shutters are put away. Yours truly had never before seen it done that way.